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"Sexy Santas" cause outrage at Seven staff meeting

Channel 7 has come under fire after footage of a routine staff meeting featured scantily clad dancers dressed as Santa. The meeting of Seven Network parent company Seven West Media in Perth was held on Friday to introduce a series of new hires and appointments, while deputy news director Ray Kuka also discussed upcoming programming for the rest of the year. As part of the announcement, Kuka spoke of Perth’s annual Christmas Pageant on December 7th, when Mariah Carey’s All I Want for Christmas started playing and a group of female dancers wearing Santa hats and short red dresses appeared and started dancing. Female staff who watched on were said to have been "dumbstruck and horrified" by the bizarre scene, with <a href="https://www.afr.com/rear-window/stokes-woke-regime-comes-with-sexy-surprise-20240825-p5k54h" target="_blank" rel="noopener">The Australian Financial Review</a> claiming many likened the dancers to "sl*tty elves". A photo of the event was shared online and drew heavy criticism, as one worker shared that the performance prompted a mass walk out of outraged staffers. “OMG – if they thought that was even slightly appropriate given everything we’ve found out about them, the cultural makeup of that organisation is badly broken,” one person wrote online. “That will help fix the culture issues which have been uncovered.” A spokesman for Seven West Media defended the dancers, explaining that they were part of the Christmas Pageant, which is a “Perth institution”. The footage of the meeting comes as Seven faces a series of internal challenges as they fight allegations of being a "toxic" workplace. Ryan Stokes, the managing director of Seven Group Holdings Ltd, recently called inappropriate behaviour in media an "industry-wide problem". Stokes said it was "disappointing that there is a perception [that] inappropriate behaviour" was tolerated at Seven because "we don't tolerate any inappropriate behaviour". Image credits: Seven West Media

Legal

West Side Story returns to Handa Opera on Sydney Harbour

Get ready to snap your fingers, tap your toes and experience the magic of Broadway in Sydney as Opera Australia presents the electrifying musical extravaganza West Side Story – making its triumphant return to the Handa Opera on Sydney Harbour stage in 2024. The 2019 production of West Side Story, if you were fortunate enough to grab seats, was an absolute smash hit. With record-breaking ticket sales and rave reviews, it's no wonder this show stole the hearts of over 65,000 theatre and musical buffs. Directed by the incomparable Francesca Zambello, West Side Story promises to once again whisk audiences away to the bustling streets of New York City, complete with iconic songs, heart-pounding dance numbers, and enough drama to fill the harbour twice over. Leonard Bernstein and Stephen Sondheim's musical masterpiece will once again take centre stage, accompanied by Jerome Robbins' legendary choreography – and this year, we were fortunate enough to be able to pose a few pre-performance questions to none other than Guy Simpson, the show’s musical director, and the all-singing, all-dancing Wayne Scott Kermond, who is playing “Doc” onstage. Let’s raise the curtain and see what they have to say! <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Guy-Simpson.jpg" alt="" width="1280" height="720" /> Guy Simpson Guy Simpson, a seasoned musical director with nearly 45 years of experience, boasts an illustrious career spanning global productions. Notably, his involvement with iconic shows like Miss Saigon and The Phantom of the Opera has taken him across continents, from Australia to Asia and beyond. Simpson's extensive repertoire includes serving as Musical Supervisor and Director for Opera Australia's acclaimed productions such as Evita, My Fair Lady, and of course West Side Story. Additionally, his contributions as an orchestrator and producer of cast recordings further solidify his stature in the musical theatre realm. With credits ranging from beloved classics like Les Misérables to contemporary hits like Muriel's Wedding, Simpson's versatile talent continues to enrich the world of musical theatre on an international scale. OverSixty: What memories do you have of your first time working on West Side Story – when was it and what was the experience like? Guy: “I was a rehearsal pianist for the 1983 production of West Side Story. The conductor was Dobbs Franks, who came from the US to conduct the first production of the show in 1960. So I was lucky to learn the show from him. I wasn’t in the orchestra and had tickets to watch opening night but during the afternoon of that day I received a call to play in the orchestra that night because the pianist was unwell. I’ll never forget that! Since then I have conducted three seasons of the show and learn more and more about it each time.” OverSixty: What were Bernstein’s influences and what impact did Bernstein’s score have when the musical first premiered? And why do you think it remains so recognised today? Guy: “Bernstein was influenced by many things. There is an <a href="https://www.wrti.org/arts-desk/2018-08-23/the-surprising-backstory-to-west-side-story" target="_blank" rel="noopener">excellent article by Debra Lew Harder</a> that outlines these influences. I love the combination of Jewish themes, Puerto Rican rhythm, Mexican dance music and of course American jazz. His classical roots also come in here – especially the music of Aaron Copland and George Gershwin. The genius is Bernstein's ability to blend all this into a score that tells the story so brilliantly." OverSixty: What’s your favourite moment in the music that audiences might not always notice but could listen out for? Guy: I like what is known as ‘THE BALCONY SCENE’. Most people will know it as the iconic love duet ‘TONIGHT’. In the show this scene moves between spoken dialogue (with underscoring), into the song and back into dialogue in a wonderfully cohesive way. It is so well crafted and is quite a challenge for the conductor to fit the music with the dialogue in a seamless way. I also love the scene in the bridal shop that includes the song ‘ONE HAND ONE HEART’. <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Wayne-Scott-Kermond-as-Doc.jpg" alt="" width="1280" height="720" /> Wayne Scott Kermond Wayne Scott Kermond, hailing from a rich lineage of Australian Vaudeville performers, epitomises the essence of musical theatre, comedy and cabaret. With a repertoire spanning from Anything Goes to Hairspray, including acclaimed performances in several productions of West Side Story, Kermond's versatility shines through. Additionally, he's showcased his creative prowess as the creator and star of captivating cabaret shows such as Candy Man and Jive Junkys. Beyond the stage, Kermond's talents extend to film, where he's contributed to projects like Happy Feet 1 & 2, and as a respected scriptwriter and director for various musicals, cabarets and corporate events. With accolades including a Green Room Award and Mo Award, alongside nominations for Helpmann Awards, Kermond's exceptional abilities and esteemed showbiz heritage solidify his status as an extraordinary Australian talent. OverSixty: You and Guy first worked on this musical 40 years ago, how does it feel to be coming back together on the Handa Opera version? Wayne: “I first performed in West Side Story at the old Her Majesty’s Theatre (Sydney), 40 years ago playing the youngest member of the Jets gang, ‘Baby John’, and then again in another fabulous production touring Australia / New Zealand in the mid-nineties playing Arab. And so it was lovely to be reminded by Guy on the first day of rehearsals for this season how special it is to us both, here we are, doing it again, just a little greyer." “We shared a few laughs about ‘where did that time go?’, and how ‘young’ we still look after all these years. It’s so great to work with Guy again, I think the last show we did together was Chicago, back in the late nineties. So with Guy's huge amount of expertise and experience at the helm as our Musical Director the show is in great hands. Wait till you hear the amazing Orchestra.” OverSixty: What about this musical’s story, lyrics, etc resonate with you and why do you think it keeps being seen on stage? Can it appeal to all ages? Wayne: “West Side Story is as iconic to music theatre as Swan Lake is to ballet. All great musicals such as West Side have to have a great love story; West Side certainly has that. And to add to that, also an incredible score, dynamic original choreography and a beautifully written book makes it a triple threat. That's why it stands the test of time – it's an inter-generational piece, whose story and message still stands today, which is the reason why I’m now getting the opportunity to play an adult character ‘Doc’ in this OA production 40 years later, as it will be for another artist, in another 40 years' time.” OverSixty: What’s your favourite moment in the show and why? Wayne: It is very difficult to say there is a favourite moment as there are so many. The whole journey of the show is something everyone who loves theatre should experience. The Prologue, Dance at the Gym, America, Cool, Tonight, Something's Comin, and not forgetting the Quintet powerhouse... Every part of this show is special, whether you're seeing the show for the first time or for the tenth time, it’s exhilarating, poignant and moving." “It’s especially wonderful for me to have been given the opportunity to revisit the show, after all these years later as a performer. And it’s very exciting to watch another generation of performers being given the opportunity to experience such an exceptional piece of theatre.” So, mark your calendars, Sydney-siders, because Handa Opera on Sydney Harbour is about to serve up a theatrical experience like no other. With world-class performances, breathtaking views of the harbour, and enough fireworks to make New Year's Eve jealous, this is one event you won't want to miss. So grab your tickets, grab your friends, and get ready to experience the magic of West Side Story like never before. See you at the opera! For more information and ticket sales, check out <a href="https://opera.org.au/productions/west-side-story-on-sydney-harbour/" target="_blank" rel="noopener">opera.org.au/harbour</a> All images: Supplied

Domestic Travel

Rob Lowe's West Wing confession

Rob Lowe has spoken candidly about leaving one of his most acclaimed TV shows. The 59-year-old actor has opened up about leaving The West Wing, which first aired in 1999 with Lowe playing the character of Sam Seaborn, the Bartlet administration's deputy communications director, on the very first episode of the show. The show ran for seven seasons and went off the air in 2006, although Lowe left the show during season four. Despite the show's popularity, Lowe said that leaving the show when he did was the best decision to make for him and his future career. Speaking candidly on the Stitcher Studios' podcast Podcrushed, Lowe was asked about why he left the show, and he summed up his departure with an analogy. He said, "I walked away from the most popular girl at school, but I also knew that it was a super unhealthy relationship, and it was the best thing I ever did." The unofficial story when Lowe left the show, as reported by <a href="https://www.cnn.com/2002/SHOWBIZ/TV/07/24/west.wing.lowe/index.html" target="_blank" rel="nofollow noopener" data-i13n="cpos:3;pos:1" data-ylk="slk:Daily Variety;cpos:3;pos:1;elm:context_link;itc:0" data-rapid_p="33" data-v9y="1">Daily Variety</a>, was that he was doing so because he couldn't get the salary that he wanted. As Lowe explained to Podcrushed hosts Penn Badgley, Nava Kavelin and Sophie Ansari, his decision had boiled down to one thing. "I felt very undervalued," said Lowe, the author of 2012's Stories I Only Tell My Friends. "Whenever I talk to actors who complain about, you know, their relationships on their shows, it happens. It happens in any workplace. You could be in an environment where people sandbag you, want to see you fail, don't appreciate you, whatever it is and whenever I share my stories, people are like, 'I will never share my own stories again.'" "They would make your hair stand up and there's some of them I wrote. I shared some of them in my book, but I purposely didn't share half of the other ones because it would make the people involved look so bad that I didn't want to do it to them." "So, I did not have a good experience. Tried to make it work and tried to make it work and tried to make it work and then what happened was my kids were getting to a certain age where I could see them having first girlfriends or friends and being in a relationship that was abusive and taking it," said Lowe, the father of sons John Owen, a 27-year-old actor, and venture capitalist Matthew, 29. "She's the popular girl, everybody likes her, she's beautiful, it must be great. All the things that people would say about making The West Wing to me. It's so popular, it's so amazing, it must be amazing, but I know what it's like and if I couldn't walk away from it, then how could I empower my kids to walk away from it?" When Lowe did leave the show, he issued a statement on why his character would be written out. "As much as it hurts to admit it, it has been increasingly clear, for quite a while, that there was no longer a place for Sam Seaborn on The West Wing," he said, <a href="https://www.cnn.com/2002/SHOWBIZ/TV/07/24/west.wing.lowe/index.html" target="_blank" rel="nofollow noopener" data-i13n="cpos:5;pos:1" data-ylk="slk:per CNN;cpos:5;pos:1;elm:context_link;itc:0" data-rapid_p="36" data-v9y="1">per CNN</a>. "However, Warner Bros. has allowed me an opportunity to leave the show as I arrived ... grateful for it, happy to have been on it and proud of it. We were a part of television history and I will never forget it." Image credits: Getty Images

Neighbours star's AVO nightmare after magistrate’s “wrong” call

Former Neighbours star Madeleine West has won an appeal to overturn an AVO taken out against her on behalf of the father of her ex-husband, celebrity chef Shannon Bennett. West, 42, was described by a magistrate as “evasive, almost aggressive and frightening” when giving evidence about an altercation involving her ex-husband’s father Benny Clifton Bennet at his son’s Byron Bay home on May 4 2022. The AVO was granted after the Local Court hearing. However, West appealed the decision in the NSW District Court after being granted a temporary stay on the two-year order, which bans her from Bennett’s Byron Bay property while her father-in-law comes to visit her children. Although the Local Court found West had “barged” onto her ex-husband’s property, Judge Jonathan Priestly ruled the magistrate had made a “wrong” decision based on “erroneous finding”. Judge Priestly found Bennett’s father was acting out of loyalty for his son during the incident. West’s lawyers amid the appeal argued that the magistrates “erred in finding the fears of the older Mr Bennett were reasonably based”. They claimed the conduct, taking the surrounding circumstances into consideration “did not amount to harassment”. The judge said the grandfather’s “fear of harassment” was an outcome of being “distressingly” caught in the middle of a dispute between his son and West. He admitted to the court that he had spoken to her amicably one day before the alleged “barging”. Bennett’s father described West as “uncontrollable” and “irrational”, but Judge Priestly said these claims were not supported by CCTV footage. “I accept that the magistrate was wrong to find that the appellant (West) barged into the property,” he ruled. “A number of errors of the magistrate have been identified. By basing her decision on those erroneous findings her Honour’s decision is wrong.” Judge Priestley found Bennett's father had been “unwittingly involved” by his son and the chances of reoccurring disputes were “negligible”. “There is no need for the order,” the judge said. The AVO was dismissed and Judge Priestly called on lawyers to prepare arguments on costs to be heard in July. West was on Neighbours for six years over two periods of time, from 2000 to 2003 and 2017 to 2020. She appeared in hundreds of episodes as characters Dee Bliss and then Andrew Somers. West was hit by a bus while filming for the soap and suffered head injuries which resulted in her having to relearn motor skills. Image credit: Instagram

Legal

Today weather presenter weds former AFL star in lavish ceremony

Former Miss Universe Australia and Today weather presenter Scherri-Lee has said “I do” in a stunning ceremony with fiancé - now husband - Daniel Venables. Scherri-Lee announced their happy news with a post to social media, sharing an image of herself swept up in a kiss by the former West Coast Eagles player, along with the caption “The Venables”. The couple’s big day was held at the Swan Valley’s popular Old Young’s restaurant - a venue decked out for the event, and on full display across the stories of their guests. Those same stories also revealed that Scherri-Lee walked down the aisle to an acoustic cover of Tina Turner and Jimmy Barnes’ ‘(Simply) The Best’, and that they had their first dance to Leon Bridges’ ‘Beyond’. Their invite list featured a number of notable names - from Eagles players’ partners to stylists, TV personalities, and some of Scherri-Le’s own co-hosts. And the love for the newlyweds didn’t stop with their celebrations, with many of their guests - and fans - making use of Scherri-Lee’s comment section to congratulate them. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Cp_nlYGPTvX/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/Cp_nlYGPTvX/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Scherri-Lee Biggs (@scherri)</a> </div> </blockquote> “The best day!!” declared fellow TV presenter and wedding guest Tracy Vo. “Absolutely stunning gorgeous girl!” gushed Natalia Cooper, who punctuated her message with two red hearts, “congratulations to you both”. “Congratulations!!!” wrote The Block’s Shaynna Blaze. “Obsessed with this. What a wedding,” admitted one celebrant, who shared Scherri-Lee’s post as well. “So happy to cater for your wedding at @oldyoungskitchen guys!” wrote Chef Rizzy, whose team handled the event’s food. “I hope the night was as great as it all sounded from the kitchen!” “Congratulations!! I hope the day was everything you dreamed of,” came Perth News reporter Kelly Neves’ well-wishes. The congratulations went on and on, with hundreds delighted to share in the happy moment through the screen. A moment they hadn’t had to wait for long, with the couple only having announced their engagement in December of 2022. At the time, Scherri-Lee had announced the news with a post to her Instagram account. It featured a picture of the two embracing at sunset on the beach, and the caption “Christmas came early this year. Forever isn’t enough with you.” The news came after Scherri-Lee had been spotted wearing a diamond ring while at another wedding. Their relationship had only been confirmed in May of the same year, after rumours had begun to swirl that the two had paired up. Images: Instagram

Relationships

Sunrise star's $2 million reno project up for grabs

Sunrise star Edwina Bartholomew’s luxury $2 million home is up for sale. The channel 7 TV presenter has owned the remarkable three-bedroom Dulwich Hill home in Sydney’s inner west for six years and has renovated the historic brick property in that time. “A superbly renovated historic home in one of the Inner West’s most desirable locations,” the marketing collateral for the home reads. “Architecturally designed interiors are complemented by beautiful landscaping front and back, including a glasshouse-style terrace for entertaining. A storybook home of finely crafted luxury.” The two-bathroom home sits on 221sqm and has been valued at $2 million. The median house price for properties in Dulwich Hill sits around $1.855 million, down 4.1 per cent over the past year. According to property records, Bartholomew paid $1.59 million for the house in March 2017. Since purchasing the property, she has done some major renovations to spruce up the home, which is one of the oldest properties in the suburb, for a more contemporary lifestyle. “Our dog ran through the back door at one point chasing a possum, so we had cardboard and gaffa tape holding it together for a bit. It’s much nicer now,” Bartholomew told <a href="https://thedesignfiles.net/2023/02/on-the-market-edwina-bartholomew-1-abergeldie-st/?fbclid=IwAR1Iyb5XjhwD3YFzi0Pk8H6ZmxW60oDNDSyENKe_AHBuL8OI21WduOO9wSU&mibextid=Zxz2cZ" target="_blank" rel="noopener">The Design Files</a>. “I’ve loved sitting in the study at the front reading a book with the big bay window, or playing up on the terrace with the kids. “We love that we have not only renovated a house, but resurrected a house to last for another century, and countless other families.” The home is scheduled for auction on March 18. Bartholomew is now planning another renovation project in hopes of turning a rural guesthouse into a boutique hotel. Image credits: Getty/BresicWhitney

Real Estate

Several children injured in explosion at school

Several children have been injured following an explosion at a primary school in Sydney’s Northern Beaches. Eight ambulances and two helicopters rushed to Manly West Public School about 1 pm on Monday following reports of an explosion in a science class. Eleven children aged around 10 years old in year 5 and one adult were impacted by the “Hazmat incident”. The children were tasked to lighting baking soda and sugar alight using an accelerant which then exploded due to high winds. One girl suffered multiple burns to her body and was treated by CareFlight’s specialist doctor before being airlifted to The Children’s Hospital at Westmead in a stable condition. Another child suffered severe burns and is being treated by a specialist medical team for serious burns. Five other children were taken to Royal North Shore Hospital and another four were taken to Northern Beaches Hospital with superficial burns. “We received multiple triple-0 calls reporting that a number of children had sustained burns during a science experiment, which was being conducted outside,” NSW Ambulance acting superintendent Phil Templeman said. “Today’s high winds have impacted the experiment and blown some of the materials around. “The children have sustained burns to the upper body, chest, face and legs; thankfully, the majority of the students were not badly injured.” NSW Education Minister Sarah Mitchell offered support to the school, children and their families. “My thoughts are with the students and staff affected by today’s incident at Manly West Public School,” Ms Mitchell said. “I have spoken with the Principal this afternoon to offer my support to the entire school community, and I want to particularly thank and acknowledge all of the school staff who acted so quickly to provide first aid and call emergency services. “We will provide whatever resources the school community needs in the coming days, including counselling for students and staff. “Investigations into the incident will be undertaken by the relevant authorities, including the Department of Education and NSW Police. In addition, SafeWork NSW has been notified and they will carry out their own investigation in due course.“ NSW Premier Dominic Perrottet also offered support to the school, tweeting: “My thoughts are with all the students and staff at Manly West Public School after the horrible accident today. “I’ve spoken to the principal and expressed my thanks to her for the actions of all involved in supporting the students and staff who were hurt. “We will provide the school with all the support and services they need, including providing counselling services from tomorrow.” Image: Nine News

News

"Prima donna in pigtails": how Julie Andrews the child star embodied the hopes of post-war Britain

In June, the American Film Institute presented its 48th Life Achievement Award, the highest honour in American cinema, to the beloved stage-and-screen star <a href="https://www.afi.com/laa/julie-andrews/">Julie Andrews</a>. On conferring the award, the AFI praised Andrews as “a legendary actress” who “has enchanted and delighted audiences around the world with her uplifting and inspiring body of work”. As anyone who has seen Mary Poppins (1964) or The Sound of Music (1965) can attest, “uplift” is central to the <a href="https://www.sensesofcinema.com/2002/female-glamour-and-star-power/andrews/">Julie Andrews screen persona</a>. It is a sweetness-and-light image that is easy to lampoon. <a href="https://www.instagram.com/p/BZtTQSbl-nw/?hl=en">Andrews herself</a> is alleged to have quipped “sometimes I’m so sweet even I can’t stand it”. But it’s an element of feel-good edification that fuels much of the star’s iconic appeal. The idea of Julie Andrews as a figure of uplift has a long history. Decades before she attained global film stardom in Hollywood, Andrews enjoyed an early career as <a href="https://www.tandfonline.com/doi/abs/10.1080/19392397.2022.2109303">a child performer</a>. Billed as “Britain’s youngest singing star”, she performed widely on the postwar concert and variety circuit with forays into radio, gramophone recording and even early television. Possessing a precociously mature soprano voice, Andrews was widely promoted in the era as a <a href="https://paralleljulieverse.tumblr.com/post/63601790519/julies-status-as-a-juvenile-prodigy-possessed">child prodigy</a>. A 1945 BBC talent report filed when the young singer was just nine years old enthused over “this wonderful child discovery” whose “breath control, diction, and range is quite extraordinary for so young a child”. <h2>‘Infant prodigy of trills’</h2> Andrews made her professional West End debut in 1947 where she dazzled audiences with a coloratura performance of the Polonaise from Mignon. Newspapers were ablaze with stories about the “12-year-old singing prodigy with the phenomenal voice”. Reports claimed the pint-sized singer had a vocal range of over four octaves, a fully formed adult larynx and an upper <a href="https://en.wikipedia.org/wiki/Whistle_register">whistle register</a> so high dogs would be beckoned whenever she sang. On the back of such stories, Andrews was given a slew of lionising monikers: “prima donna in pigtails”, “infant prodigy of trills”, “the miracle voice” and “Britain’s juvenile coloratura”. While much of it was PR hype, the representation of Andrews as an extraordinary musical prodigy resonated deeply with postwar British audiences. The devastation of the war cast <a href="https://www.ncbi.nlm.nih.gov/books/NBK436946/">a long shadow</a>, and there was a keen sense a collective social rejuvenation was needed to reestablish national wellbeing. The figure of the child was pivotal to the rhetoric of postwar British reconstruction. From political calls for <a href="https://journals.sagepub.com/doi/full/10.1177/0363199020945746">expanded child welfare</a> to the era’s booming <a href="https://www.jstor.org/stable/30036327">family-oriented consumerism</a>, images of children saturated the cultural landscape, serving as a lightning rod for both <a href="https://www.iwm.org.uk/history/growing-up-in-the-second-world-war">social anxieties and hopes</a>. In her status as “Britain’s youngest singing star”, Andrews chimed with these postwar discourses of child-oriented renewal. A popular myth even traced her prodigious talent to the very heart of the Blitz. Like a scene from a morale-boosting melodrama, the story claimed the young Andrews was huddled one night with family and friends in a Beckenham air raid shelter. In the middle of a communal singalong, a powerful voice suddenly materialised out of her tiny frame, astonishing all into silent delight. <h2>‘Our Julie’</h2> One of the most pointed alignments of Andrews’ juvenile stardom with a discourse of postwar British nationalism came with her appearance at the <a href="https://www.royalvarietycharity.org/royal-variety-performance/archive/detail/1948-london-palladium-">1948 Royal Command Variety Performance</a>. Appearing just two weeks after her 13th birthday, Andrews was the youngest artist ever to participate in the annual event. It generated considerable media coverage and yet another grand nickname: “command singer in pigtails”. Andrews performed a solo set at the event, and was also charged with leading the national anthem at the close. Ideals of restorative nationalism shaped Andrews’ child stardom in other ways. Much of her early repertoire was markedly British, drawn from the English classical canon and rounded out by traditional folk songs. Press reports emphasised, for all her remarkable talent, “our Julie” was still a typical English girl thoroughly unspoiled by fame. In accompanying images she would appear in idyllic scenarios of classic English childhood: playing with dolls, riding her bicycle, doing her homework. Elsewhere, commentary was rife with speculations about Andrews’ prospects as “the next <a href="https://en.wikipedia.org/wiki/Adelina_Patti">Adelina Patti</a>” or “future <a href="https://en.wikipedia.org/wiki/Lily_Pons">Lily Pons</a>”. The mix of nostalgia and hope helped make the young Andrews a reassuring figure in the anxious landscape of postwar Britain. <h2>All grown up</h2> Little prodigies can’t remain little forever. There lies the troubled rub for many child stars, doomed by biology to lose their principal claim to fame. In Andrews’ case, she was able to make the successful transition to adult stardom – and even greater fame – by moving country and professional register into the American stage and screen musical. Still, the themes of therapeutic uplift that defined her early child stardom would follow Julie Andrews as she graduated to become the world’s favourite singing nanny. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/prima-donna-in-pigtails-how-julie-andrews-the-child-star-embodied-the-hopes-of-post-war-britain-188363" target="_blank" rel="noopener">The Conversation</a>.

Music

Rebel Wilson's inner-west mansion has finally sold

Rebel Wilson’s Sydney home, located in the water front suburb of Birchgrove on the Balmain peninsula has sold. Rebel scored an eye-watering $9.5 million which was $500,000 more than the $9 million price tag on its March listing. She had paid $3.76 million for the Louisa Road, home, back in 2015, followed by a major rebuild overseen by architect Paul Connor for a three-level home with a lift. It features a north-facing aspect overlooking the Parramatta River. It was previously owned by author Peter Carey, who sold in 1992 for $810,000 when moving to New York, and then later by former Goldman Sachs operative Robert Tsenin and his wife Estelle. The latest owners of the Birchgrove home have emerged as Nick Smart, who founded the perfume distribution company Agence de Parfum in 2008, and his husband, Todd Graham, who launched Australia’s first certified organic pet and supplement range for dogs and cats in 2021. The Birchgrove record has stood since 2019 at $14.25 million when developer John Gobbo bought a waterfront mansion with jetty, which was challenged earlier this year by the 1899 Yurulbin, when sold to anaesthetist Dr Thomas Theodorou and Dalai Clarke for $13.68 million. Wilson’s investment company paid $3.6 million earlier this year for a nearby four bedroom property, said to be a home base for her mother. Images: Instagram

Real Estate

Man “driving like a madman” causes shocking crash on Melbourne bridge

Three men have been arrested for being in a vehicle with false plates after a horrific crash on Melbourne’s West Gate Bridge left the driver hospitalised and another fighting for his life. A silver Ford Falcon XR6 collided with a St Vincent’s charity truck on the bridge in Spotswood on Tuesday morning, with witnesses reporting the Ford was being driven “like a madman”, per <a href="https://www.dailymail.co.uk/news/article-10982161/West-Gate-Bridge-Shocking-crash-Melbourne-highway.html" target="_blank" rel="noopener">Daily Mail Australia</a>. The truck rolled onto its side, forcing four lanes which connect the western suburbs and airport to the rest of the city to be closed. It is understood a person was thrown from the vehicle in the collision. The 21-year-old Ford driver was taken to hospital, where he is in a stable condition. The front-seat passenger was also taken to hospital with critical injuries. <img src="https://oversixtydev.blob.core.windows.net/media/2022/07/melbs-crash-car1.jpg" alt="" width="1280" height="720" /> Paramedics, firefighters and police descended on the scene, with all four outbound lanes closing. Image: 7News Three other men, all in their 20s and passengers in the vehicle, were arrested at the scene, with police suspecting the car was stolen due to the presence of false registration plates, which belonged to a blue BMW with registration that expired in 2014. The men have since been released pending further enquiries, while the two men in the van were unharmed. VicTraffic confirmed that all four lanes were operational just after 2.30pm after authorities had cleared the road, though delays were expected to continue for some time. “Thanks again for your patience as emergency services conducted investigations,' VicTraffic said. One witness told Radio 3AW that the roads were entirely blocked, with police and ambulance unable to get through. “There's a number of individuals lying there being attended to by the public, because the ambulance and the police just can't get through because the roads are entirely blocked,” they told the station. Another, who was travelling outbound on the bridge, said the Ford sped past him “like a bullet”. “He was driving like a mad man,” they said. “I thought to myself he won't make it to the other side of the bridge.” One woman who was at the scene moments after the crash told Daily Mail Australia that she saw paramedics treating one person who was on the ground. “There were about fifty cars with police, ambulance and firefighters,” she said. Police investigating the crash say the circumstances surrounding it are still to be determined, while anyone with information, dash cam footage or who witnessed the crash are being urged to contact Crime Stoppers on 1800 333 000. Image: 7News

News

Neighbours star launches new political career

Former Neighbours actor Madeleine West has shared an unusual career move. The mother-of-six recently launched a political campaign, that will see her run in the 2023 NSW state election for her local seat of Ballina as an independent. Madeleine kicked off her campaign with an appearance on The Project to explain what prompted such a radical change. “I’m running for state, so let's not confuse the issue; it is not about the federal campaign, but I believe that politics is for the people and it’s about being the voice of the people,” she said. Ms West raised concern over “a huge disconnect between the haves and have-nots” in the exclusive seat of Ballina, which encompasses the Byron Bay Area. “My area is beautiful, we see it on Instagram and everyone celebrates it as a tourist destination, but the reality is the people serving the coffees and cleaning up the Airbnbs can’t afford to live in the Shire any more,” she said. “I’m lucky to have a national platform, yes, but I think that makes me uniquely qualified to bring a spotlight on local issues because what we’ve been through realistically is a microcosm that the rest of Australia can expect to experience,” Ms West said. Madeleine West became a household name over 20 years ago when she started playing Dee Bliss on Neighbours. She played the role for three years, before coming back for another three year stint in 2017. More recently, the 41-year-old has taken an active role in reforestation projects, while also helping in flood clean up efforts. She said being a politician came down to being accountable and genuinely caring about the community – including the “community” of Australia. <div id="indie-campaign-gjlHkw5w3ytYFCUrwpez-0" data-campaign-name="NCA NATIONAL Politics Newsletter OneClick SignUp" data-campaign-indie="newsletter-signup" data-jira="TSN-40" data-from="1628604000000" data-to="1885298400000"></div> “I’ve been agitating for change for a very long time in a lot of different philanthropic spheres and now I want to be the change that I want to see,” she said. Image credits: Ten / Instagram

West Side Story actress snubbed from Oscars

West Side Story actress Rachel Zegler claims she was not invited to the 2022 Oscars, despite the film receiving seven nominations. When a fan commented on Rachel's Instagram expressing their excitement over seeing the actress's Academy Award outfit, the breakout actress replied, “I’m not invited, so sweatpants and my boyfriend’s flannel.” Rachel's followers immediately jumped to her defence with messages of shock and surprise, considering the film she is starring in received a Best Picture nomination. “Breaks my heart. You were the best part of that movie. Surely Steven Spielberg could do something about this,” one fan wrote, referencing the film’s legendary director, who is also nominated. “Step up to the mic? How’s the leading actress of a movie that’s up for seven Academy Awards not invited? How does that make any sense?” another commented. After the influx of confused comments, 20-year-old Rachel said she didn't understand the snub either, but she would still be cheering on the musical from home. “IDK y’all I have tried it all but it doesn’t seem to be happening,” she wrote in a second comment. “I will root for West Side Story from my couch and be proud of the work we so tirelessly did three years ago.” The young actress has already won a Golden Globe award for her portrayal of Maria Vasquez this award season, stumping movie fans even more. Despite the outrage, she also thanked her fans for their shock over the apparent snub, saying, “I hope some last minute miracle occurs and I can celebrate our film in person but hey, that’s how it goes sometimes, I guess.” “I’m disappointed, too. But that’s OK. So proud of our movie.” Image credits: Getty Images

Movies

West responds to Putin placing nuclear arsenal on high alert

As tensions and fighting continue to escalate between Russia and Ukraine, the US and NATO have slammed Putin's decision to put Russia's nuclear forces on high alert. Speaking at a meeting with his top officials, Putin directed the Russian defence minister and the chief of the military's General Staff to put the nuclear deterrent forces in a "special regime of combat duty." The Russian president also discussed the hard-hitting sanctions that have been placed on Russia, and Putin himself. "Western countries aren't only taking unfriendly actions against our country in the economic sphere, but top officials from leading NATO members made aggressive statements regarding our country," Putin said in televised comment. White House press secretary Jen Psaki said the dangerous move was part of a wider pattern of unprovoked escalation and "manufactured threats" from the Kremlin. "This is really a pattern that we've seen from President Putin through the course of this conflict, which is manufacturing threats that don't exist in order to justify further aggression — and the global community and the American people should look at it through that prism," Psaki told ABC's George Stephanopoulos on 'This Week'. She added, "This is all a pattern from President Putin and we're going to stand up for it, we have the ability to defend ourselves, but we also need to call out what we're seeing here from President Putin." In reaction to the nuclear alert, NATO Secretary-General Jens Stoltenberg told CNN, "This is dangerous rhetoric. This is a behaviour which is irresponsible." Given that Russia, as well as the US, typically have both land and submarine-based nuclear forces on alert for combat at all times, the practicality of Putin's order is not yet clear. As the conflict only continues to grow with Moscow troops drawing closer to Kyiv, Ukrainian President Volodymyr Zelenskyy confirmed that a delegation would meet in an undisclosed location on the Belarusian border to discuss peace talks. Image credits: Getty Images

News

From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

The second half of 2021 is proving to be a peak time for movie musical-goers, with the release of critically acclaimed In the Heights, disastrously received Dear Evan Hansen, and Steven Spielberg’s hotly anticipated West Side Story. These films lead to reflection on one of the stranger sub-genres of film history — the musical stage-to-screen adaptation. To film a stage show (as in the recent professionally shot films of Hamilton and Come from Away), or merely to create bigger stage sets in a studio (there are many examples of this, from Guys and Dolls to The Producers) is not truly to adapt a musical to film. Instead, adaptors should use the tools unique to film to re-interpret the musical in this different medium. To help us through the vicissitudes of adaptation, here is an idiosyncratic list of a few DOs and DON’Ts. <h2>DO use real locations creatively</h2> Location shooting is a frequent tool used to enhance the realism of film musicals, but placing the un-realism of song and dance in a real place can backfire and create an uncanny valley. Locations are best used in a super-realistic way. A successful recent example of this is In the Heights. Director Jon Chu and his production team shot much of the film in Washington Heights in Manhattan, but in a way that the neighbourhood seems a natural place for music-making: very careful lighting, colour-timing, and the occasional unobtrusive effects shot lift the story out of the mundane. <a href="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> In The Heights (2021) is a love letter to the Washington Heights area of NYC. IMDB In the number When the Sun Goes Down, lovers Benny and Nina begin singing naturalistically on a fire escape, but then a set on hydraulics, green screen, and “magic hour” lighting come together to enable a gravity-defying dance across the rooftops and walls of the apartment buildings. See also: Fiddler on the Roof, Jesus Christ Superstar, On the Town <h2>DON’T ghettoise all of the musical numbers to a stark dreamland covered in artistic scaffolding</h2> Counter to the previous guideline about using real locations for musical numbers, some film musicals go too far in the opposite direction. Two musicals directed by Rob Marshall, Chicago and Nine, puzzlingly use the same solution to try and hedge their bets: the dialogue scenes happen in realistic locations (1920s Chicago and 1960s Rome, respectively) but the musical numbers are relegated to their characters’ internal fantasies, which in both cases means studio-like settings that allow for dancers to be placed in aesthetically pleasing formations. <a href="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Chicago (2002), features musical numbers entirely set within the character’s internal fantasies. IMDB This strategy gets the filmmakers out of having to bridge the gap between speech time and music time, but the narrative innovations of both shows are smoothed out on screen. That makes for a less interesting filmgoing experience. The exception that proves the rule here is Cabaret, in which director Bob Fosse removed all of the “book” songs and kept only those performed in the titular cabaret. Through innovative intercutting and montage the cabaret songs pervade the whole texture of the film, however, resulting in one of the most “musical” of all musicals. <h2>DO fix problems with the dramatic unfolding of the source material</h2> Show Boat was the first stage musical to attempt a truly epic form, covering twenty years of story time and locations all along the Mississippi River. In 1927, stage mechanics had not caught up with librettist Oscar Hammerstein II and composer Jerome Kern’s ambitions, and the musical, brilliant and groundbreaking as it was, suffered from overlength and a dramatically clumsy second act. The production team fixed these issues in the 1936 film version, as the technologies of montage, dissolve, and cross-cutting that were possible on film allowed for a more effective unfolding of time and place. The 1965 film version of The Sound of Music similarly fixes problems in the stage version; another epic musical, the stage version feels hemmed-in and stifled. <a href="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> The Sound of Music (1965) uses film techniques and editing to improve on a ‘stifled’ stage musical. IMDB It is allowed to breathe on film, and the songs are moved around to better reflect what they are actually about (My Favourite Things on stage is sung by the Mother Abbess to cheer up Maria before she leaves the convent!) See also: Hair, Hairspray, Tick Tick Boom <h2>DON’T adapt a musical to film that didn’t work on stage</h2> Poor Alan Jay Lerner. After the extraordinary success of the film version of My Fair Lady, Lerner attempted film adaptations of three of his other musicals that had been less successful on stage. Camelot, which had a healthy run on Broadway because of its star actors (Julie Andrews, Richard Burton, and Robert Goulet), its Oliver Smith production designs, and a few excellent songs, rather more than for its unconvincing storyline and structure, was a natural for screen adaptation. But non-singer stars (Richard Harris, Vanessa Redgrave, and Franco Nero), unconvincing plot revisions, and dull direction by Joshua Logan caused it to be an inert behemoth on screen. Lerner tried again with Paint Your Wagon in 1969, based on a much earlier stage musical that had been only mildly successful with a few hit songs (notably They Call the Wind Maria). But once more, non-singer stars (Lee Marvin, Clint Eastwood, and Jean Seberg), unconvincing plot revisions, and dull direction by (again!) Joshua Logan resulted in yet another inert behemoth. <a href="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Paint Your Wagon (1969) is generally acknowledged as a poor example of a film musical, and a stage musical. IMDB Third time was not a charm, with On a Clear Day You Can See Forever. This time the stars were singers: Barbra Streisand and Yves Montand. Unfortunately, their talents were hidden by another poorly revised screenplay and, unlike the other two films, this one could have used more of everything, especially music. Writing this has made me realise that successful stage-to-screen adaptations are quite rare. For every Cabaret there are two Annies and a Man of La Mancha. Spielberg’s new West Side Story will be the first musical he has directed in his long career, and musical-lovers everywhere are optimistic that he will do this classic musical justice. I merely hope that the only scaffolding to be found is on the fire escapes of 1950s Manhattan!<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/169946/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/gregory-camp-1280180">Gregory Camp</a>, Senior Lecturer, <a href="https://theconversation.com/institutions/university-of-auckland-1305">University of Auckland</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/from-chicago-to-west-side-story-how-to-successfully-adapt-a-musical-from-stage-to-screen-169946">original article</a>. Image: 20th Century Studios

Movies

From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

The second half of 2021 is proving to be a peak time for movie musical-goers, with the release of critically acclaimed In the Heights, disastrously received Dear Evan Hansen, and Steven Spielberg’s hotly anticipated West Side Story. These films lead to reflection on one of the stranger sub-genres of film history — the musical stage-to-screen adaptation. To film a stage show (as in the recent professionally shot films of Hamilton and Come from Away), or merely to create bigger stage sets in a studio (there are many examples of this, from Guys and Dolls to The Producers) is not truly to adapt a musical to film. Instead, adaptors should use the tools unique to film to re-interpret the musical in this different medium. To help us through the vicissitudes of adaptation, here is an idiosyncratic list of a few DOs and DON’Ts. DO use real locations creatively Location shooting is a frequent tool used to enhance the realism of film musicals, but placing the un-realism of song and dance in a real place can backfire and create an uncanny valley. Locations are best used in a super-realistic way. A successful recent example of this is In the Heights. Director Jon Chu and his production team shot much of the film in Washington Heights in Manhattan, but in a way that the neighbourhood seems a natural place for music-making: very careful lighting, colour-timing, and the occasional unobtrusive effects shot lift the story out of the mundane. <a href="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> In The Heights (2021) is a love letter to the Washington Heights area of NYC. IMDB In the number When the Sun Goes Down, lovers Benny and Nina begin singing naturalistically on a fire escape, but then a set on hydraulics, green screen, and “magic hour” lighting come together to enable a gravity-defying dance across the rooftops and walls of the apartment buildings. See also: Fiddler on the Roof, Jesus Christ Superstar, On the Town DON’T ghettoise all of the musical numbers to a stark dreamland covered in artistic scaffolding Counter to the previous guideline about using real locations for musical numbers, some film musicals go too far in the opposite direction. Two musicals directed by Rob Marshall, Chicago and Nine, puzzlingly use the same solution to try and hedge their bets: the dialogue scenes happen in realistic locations (1920s Chicago and 1960s Rome, respectively) but the musical numbers are relegated to their characters’ internal fantasies, which in both cases means studio-like settings that allow for dancers to be placed in aesthetically pleasing formations. <a href="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Chicago (2002), features musical numbers entirely set within the character’s internal fantasies. IMDB This strategy gets the filmmakers out of having to bridge the gap between speech time and music time, but the narrative innovations of both shows are smoothed out on screen. That makes for a less interesting filmgoing experience. The exception that proves the rule here is Cabaret, in which director Bob Fosse removed all of the “book” songs and kept only those performed in the titular cabaret. Through innovative intercutting and montage the cabaret songs pervade the whole texture of the film, however, resulting in one of the most “musical” of all musicals. DO fix problems with the dramatic unfolding of the source material Show Boat was the first stage musical to attempt a truly epic form, covering twenty years of story time and locations all along the Mississippi River. In 1927, stage mechanics had not caught up with librettist Oscar Hammerstein II and composer Jerome Kern’s ambitions, and the musical, brilliant and groundbreaking as it was, suffered from overlength and a dramatically clumsy second act. The production team fixed these issues in the 1936 film version, as the technologies of montage, dissolve, and cross-cutting that were possible on film allowed for a more effective unfolding of time and place. The 1965 film version of The Sound of Music similarly fixes problems in the stage version; another epic musical, the stage version feels hemmed-in and stifled. <a href="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> The Sound of Music (1965) uses film techniques and editing to improve on a ‘stifled’ stage musical. IMDB It is allowed to breathe on film, and the songs are moved around to better reflect what they are actually about (My Favourite Things on stage is sung by the Mother Abbess to cheer up Maria before she leaves the convent!) See also: Hair, Hairspray, Tick Tick Boom DON’T adapt a musical to film that didn’t work on stage Poor Alan Jay Lerner. After the extraordinary success of the film version of My Fair Lady, Lerner attempted film adaptations of three of his other musicals that had been less successful on stage. Camelot, which had a healthy run on Broadway because of its star actors (Julie Andrews, Richard Burton, and Robert Goulet), its Oliver Smith production designs, and a few excellent songs, rather more than for its unconvincing storyline and structure, was a natural for screen adaptation. But non-singer stars (Richard Harris, Vanessa Redgrave, and Franco Nero), unconvincing plot revisions, and dull direction by Joshua Logan caused it to be an inert behemoth on screen. Lerner tried again with Paint Your Wagon in 1969, based on a much earlier stage musical that had been only mildly successful with a few hit songs (notably They Call the Wind Maria). But once more, non-singer stars (Lee Marvin, Clint Eastwood, and Jean Seberg), unconvincing plot revisions, and dull direction by (again!) Joshua Logan resulted in yet another inert behemoth. <a href="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Paint Your Wagon (1969) is generally acknowledged as a poor example of a film musical, and a stage musical. IMDB Third time was not a charm, with On a Clear Day You Can See Forever. This time the stars were singers: Barbra Streisand and Yves Montand. Unfortunately, their talents were hidden by another poorly revised screenplay and, unlike the other two films, this one could have used more of everything, especially music. Writing this has made me realise that successful stage-to-screen adaptations are quite rare. For every Cabaret there are two Annies and a Man of La Mancha. Spielberg’s new West Side Story will be the first musical he has directed in his long career, and musical-lovers everywhere are optimistic that he will do this classic musical justice. I merely hope that the only scaffolding to be found is on the fire escapes of 1950s Manhattan!<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/169946/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a rel="noopener" href="https://theconversation.com/profiles/gregory-camp-1280180" target="_blank">Gregory Camp</a>, Senior Lecturer, <a rel="noopener" href="https://theconversation.com/institutions/university-of-auckland-1305" target="_blank">University of Auckland</a> This article is republished from <a rel="noopener" href="https://theconversation.com" target="_blank">The Conversation</a> under a Creative Commons license. Read the <a rel="noopener" href="https://theconversation.com/from-chicago-to-west-side-story-how-to-successfully-adapt-a-musical-from-stage-to-screen-169946" target="_blank">original article</a>. Image: 20th Century Studios

Movies

Mel Gibson called out by West Wing star in scathing op-ed

West Wing actor Joshua Malina has called out Mel Gibson and his employment in show business amid the controversial scandals surrounding the actor. Malina, who plays Will Bailey on the political drama, has questioned why Gibson is still employed in Hollywood despite his long history of alleged anti-Semitism, homophobia and bigotry. In a recent op-ed for The Atlantic titled <a rel="noopener" href="https://www.theatlantic.com/culture/archive/2021/12/mel-gibson-anti-semitism/620873/" target="_blank">Cancel Mel Gibson</a>, Malina wondered why Hollywood's 'cancel culture' seemingly doesn't apply to Gibson. "Gibson is a well-known Jew-hater (anti-Semite is too mild). His prejudices are well documented," Malina wrote. "So my question is, what does a guy have to do these days to get put on Hollywood's no-fly list? I'm a character actor. I tend to take the jobs that come my way. But — and this hurts to write — you couldn't pay me enough to work with Mel Gibson." Mel Gibson has reportedly been cast in the upcoming John Wick prequel spin-off series titled The Continental, and is also rumoured to be in talks to direct Lethal Weapon 5. Malina continued, wondering when someone's ignorance and hatred outweighs their impressive resume. "Now, I love the Lethal Weapon movies (at least the first few). And Danny Glover's a gem," Malina continued. "But Gibson? Yes, he's a talented man. Many horrible people produce wonderful art. Put me down as an ardent fan of Roald Dahl, Pablo Picasso, and Edith Wharton; can't get enough of what they're selling." "But these three had the good taste to die. That makes it a lot easier to enjoy their output. Gibson lives. And Tinseltown need not employ him further." Joshua Malina goes on to say that the point of 'cancel culture' is to hold people accountable for their actions, but those in Hollywood often get a free pass because of their celebrity status. "If Gibson is welcomed back to direct the latest instalment of this beloved franchise, it may be time to stop publishing think pieces about the power of 'cancel culture,'" Malina wrote. "Because if he can continue to find big bucks and approbation in Hollywood, cancel culture simply does not exist." Image credits: Getty Images

Surprise twist in casting of Prince William

Hit Netflix show The Crown has finally announced their Prince William after a nationwide search. <a rel="noopener" href="https://variety.com/2021/tv/news/the-crown-prince-william-dominic-west-son-senan-1235114068/" target="_blank">Variety</a> exclusively revealed that the Prince will be played by newcomer Senan West: the real life son of Dominic West who will play Prince Charles. The 13-year-old has been cast as a slightly older Prince William, as the show will portray him in his teenage years as he begins to mature into a young man. He will make his on-screen debut in the final episodes of the upcoming season alongside his father. It is believed the young actor submitted an audition tape for the role, which captivated the show's producers. As well as being in scenes with his father Dominic, Senan will be acting alongside Elizabeth Debicki, who will play his mother Diana. Prince William had only just turned 15 years old when Princess Diana died in a car crash in Paris in 1997, alongside her Dodi Al Fayed. Dodi Al Fayed will be portrayed by Khalid Abdalla in the upcoming season of the show, as producers of The Crown have not yet commented on whether Diana's death will be depicted in the series. Despite no formal confirmation, the casting of the upcoming season suggests that viewers will at least see the events leading up to the crash. The new cast, which changes every two seasons to reflect the royal family's lives, will see Imelda Staunton replace Olivia Colman as Queen Elizabeth II and Jonathan Pryce portray Prince Philip. Lesley Manville will play Charles's aunt Princess Margaret, while Jonny Lee Miller is set to make an appearance as Prime Minister John Major. Image credits: Netflix / Getty Images

Chris Hemsworth to visit the NSW central west

In a bid to attract tourists to the small town of Cowra, population 13,000, the town’s tourism team put together an amazing ‘Get Chris to Cowra’ campaign – and it worked! The Chris in question being Australia’s favourite of the Hollywood Chrises, of course: Chris Hemsworth, best known for playing Thor in the Marvel movies. The campaign launched last week with an entertaining video showcasing all of the amazing things Cowra has to offer, as well as giving viewers a glimpse into the process behind getting the campaign off the ground. The primary goal behind the campaign was to boost tourism after years of drought and the COVID-19 pandemic, with attracting Chris Hemsworth himself surely feeling like a pipe dream. <iframe width="560" height="315" src="https://www.youtube.com/embed/9z6_2FA38R8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen=""></iframe> The campaign includes a proposal for a ‘Big Chris’, in the style of Australia’s Big Landmarks like the Big Pineapple and the Big Prawn. The statue would be “four storeys tall and a beard like spun canola” according to the campaign <a rel="noopener" href="https://www.getchristocowra.com.au/the-big-chris" target="_blank">website</a>. The website says of the proposed statue, “standing over forty metres tall, the proposed Big Chris will stand testament to mankind's ingenuity, daring, and engineering skills, and will be a glimmering beacon for international and domestic visitors alike. The Big Chris will be the crown jewel in the rich tapestry of visitor sights and experiences that is Cowra.” Plus, they want the statue to be “constructed from chiselled marble (much like Chris Hemsworth's jawline)”. Who could resist visiting such a marvel of modern engineering? And now the town might have to actually follow through on their proposal, because the God of Thunder himself has taken to Instagram to accept the town’s gracious offer, promising to visit the town next year. <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-permalink="https://www.instagram.com/tv/CVJppLMhS9e/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" rel="noopener" href="https://www.instagram.com/tv/CVJppLMhS9e/?utm_source=ig_embed&utm_campaign=loading" target="_blank">A post shared by Chris Hemsworth (@chrishemsworth)</a> </div> </blockquote> Writing on Instagram on Tuesday, Hemsworth said, “Big love to all the folks in Cowra for this amazing campaign, warmed my heart and made me smile! I’m off shooting a film over seas soon but upon return next year I’m comin in hot!! “Like many regional towns around Australia, Cowra has suffered from a lack of tourism due to COVID-19 pandemic. So when things open up be sure to check out all the amazing places Australia has to offer!” Speaking to the <a rel="noopener" href="https://www.abc.net.au/news/2021-10-19/chris-hemsworth-agrees-to-come-to-cowra/100549628" target="_blank">ABC</a>, Cowra Tourism manager Glenn Daley said he was experiencing “a little bit of disbelief”, understandably so. "I was actually out in the paddock doing some farm stuff, and the assistant manager called and said 'we've got him'!" Image: Cowra Tourism, Jun Sato/GC Images

Domestic Travel

First look at Aussie actress playing Princess Di

Fans of the Netflix hit show The Crown have been treated with a first look at Australian actress Elizabeth Debicki in her role as Princess Diana in the show's upcoming season. Debicki will be starring the show's fifth season alongside Dominic West, who will be playing Prince Charles. Netflix shared exclusive images of the two new cast members on their Instagram today, sending fans of the show into a frenzy. "Our new Prince Charles (Dominic West) and Princess Diana (Elizabeth Debicki)," the caption read on Netflix's official Instagram account. <img style="width: 500px; height: 244.7833065810594px;" src="https://oversixtydev.blob.core.windows.net/media/7843250/screen-shot-2021-08-18-at-30021-pm.png" alt="" data-udi="umb://media/e01e6f7cab7a431e96718e67e74f3953" /> Image credit: Instagram @netflix Production of the highly-anticipated new season began last month in the UK, as fans of the show are counting down to the release which has been pushed back due to the pandemic. Season five is reported to be focusing ion the royal couple in the earl 1990s, beginning when their marriage became turbulent before their separation. The Crown has become known for recasting actors for different seasons as a way to age the characters accordingly, without having to rely on prosthetics and heavy makeup. <img style="width: 500px; height: 244.74959612277866px;" src="https://oversixtydev.blob.core.windows.net/media/7843251/screen-shot-2021-08-18-at-30038-pm.png" alt="" data-udi="umb://media/b1c478472f5243f6a362c68cd450bdf8" /> Image credit: Instagram @netflix Diana and Charles will be played by Debicki and West in season five, who respectively succeed Emma Corrin and Josh O'Connor in the roles. Emma Corrin and Josh O'Connor scored Emmy nominations for their portrayal of the royal, leaving very big shoes to fill for the newly cast actors. The release date for The Crown season five is still unknown. Image credits: Instagram @netflix

Dead body found in pond at Prince William and Kate Middleton’s west London home

The deceased body of an unidentified woman has been pulled out of a lake in front of Prince William and Kate Middleton’s home at Kensington Palace in west London. The corpse was found in Round Pond which is only a short walk from the Palace gates. Metropolitan Police were called just after 7 am local time on Saturday, August 29. The woman was announced dead at the scene and while police say the death is not being treated as suspicious, they have confirmed that investigations are still “ongoing”. A post-mortem examination will take place. The Duke and Duchess of Cambridge, along with their three young children, reside inside the Palace. However the family were reportedly visiting the Queen at Balmoral in Scotland on the day the horrifying discovery was made. <img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7837749/round-po-nd-royals-1.jpg" alt="" data-udi="umb://media/d62a9a486233425dbbb523364672070f" /> Newlyweds Princess Eugenie and husband Jack Brooksbank also live on the grounds of Kensington Palace in a cottage. However, it is not known if the couple were present when the body was found. Initially, authorities thought the body belonged to poet laureate Sir John Betjeman’s grandaughter Endellion Lycett Green. She had been missing for a week but reportedly was later found alive. Her brother John Lycett Green wrote: “My sister Endellion is alive, safe and well. “Thank you all for the support and love you showed for Delli and her family. “Sorry to all of you that, like us, were grieving for the wonder that is Delli. We were told a body was found and was her. “It was not, and Delli was found last night. “RIP the soul that was found in Kensington Round Pond on Saturday morning.” Kensington Gardens, which includes the Palace and the Round Pond, is said to remain open to the public while police investigations continue.

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